Tag Archives: Cock Rockin’

2014 saw Australian rockers Jackson Firebird unleash a riot of distinct rock ‘n’ roll across Europe through debut album Cock Rockin’. Heftily acclaimed and greedily devoured, it quickly repeated the success already found by its storming tracks in the duo’s homeland. A year on and the pair of guitarist/vocalist Brendan Harvey and drummer/vocalist Dale Hudak has repeated the incitement with second full-length Shake The Breakdown. Not needing to be asked twice if we wanted to get back in touch with the guys to learn about the new release we thrust a host of questions at Dale with the following insight into Jackson Firebird, album, and studio antics.

Hi Dale, welcome back to The RingMaster Review

Last time we talked with you was after the European release of debut album Cock Rockin’ last year. Apart from the obvious being your new album Shake The Breakdown in the making and releasing, what have the months since also brought the way of Jackson Firebird?

Hey Pete, thanks for the great questions mate. Lately most interviews have been aimed squarely at Brendan’s sex change operation so this is refreshing. We recorded the new album late in 2014 so it’s been almost a year. We have been just itching to get it out there and tour the balls out of it. Other than an Aus tour earlier in the year and the odd show, we have had a quiet 2015. Personally I have learnt to throw together quite a delicious cheesy potato bake and mastered a recipe for a triple choc brownie. But somehow we have managed to find the time to jam our arses off and now just want to get out there and play!

Now the dust has fully settled on that first album, what are your thoughts looking back at its success outside of your homeland?

We started off jamming in the family bakery just as an excuse to get together with mates, make some noise and get drunk on a Tuesday night. We never considered success outside of our small town let alone out of the country. Success comes to me in the form of people wanting to come to our shows, stick around and party with us. That feeling of being able to hold a whole room or watching someone picked up and thrown about on a crowd while losing their shit makes us feel like we’ve done good. We saw a bit of that last time we were in Europe.

What kind of doors, if any, has it opened for the band?

I am now able to get the best table at any McDonalds restaurant in Mildura. So there’s that.

As we just said second album Shake The Breakdown has been recently uncaged. How did you approach its creation compared to Cock Rockin’?

We went into Cock Rockin as having a bunch of songs that we wanted to record so we could have something to sell at gigs and show the grandkids and stuff. We mostly produced it ourselves and recorded and paid for it in drips and drabs. Shake the Breakdown started with a trip over to Austin TX for SXSW in 2013 where we had a chance to record a few songs with legend producer Chris Frenchie Smith. He was totally on our wavelength and found the sound we were chasing so it made sense to go back and finish it off with him. Frenchie’s production was the big difference between Cock and Shake. He shoved us when we needed a push and pulled us when we needed a tug. He definitely got more out of us than if we were to do it by ourselves again. Talking about creative input, not about semen you dirty bugger.

If you had to nail down the major differences and the evolution between the two albums what would they be for you?

I think with Cock Rockin we managed to get a live sounding album that sounds bigger than just two people. With Shake the Breakdown it’s taken up a few notches but in a way that we can still achieve live with just the two of us. We still tried to keep our music simple stupid stripped back rocking but now it’s centered by a wall of noise. We probably got a bit more adventurous with the style of some of the songs on the new album. Not on purpose, just “Hudak: Harvey, I got a riff I think you should sing this one”. “Harvey: SCREAMS!!!!!”

Get Away is finished.

As the first album and as you just implied, Shake The Breakdown feels like its songs are a live encounter for ears but did you change anything in the recording approach this time around or where did you certainly evolve things?

Just like Cock Rockin we recorded every song on the new album with both of us belting it out in the same room as if we were playing live. All the rhythm guitar at least was laid down at the same time as the drums. Harvs was more than patient with my continual fuck ups but there were a few times he had to dodge a flying drum stick aimed at his head. We used a Moog synth to get some of the fat bass sounds and over dubbed geet leads and stuff but tried to keep the songs as live as possible.

There is more variety in the sound of Shake The Breakdown too, were there any specific inspirations which might attribute to the adventure at play?

We never really have anything particular in mind before writing a song other than it’s got to be fun and a challenge to play live. Riffs and melodies can come from anywhere at any time so my phone’s voice memo is choca block full of humming or stupid guitar voices or just singing. It’s all gold at the time, but when you revisit at jam it’s more what was I thinking? Wait, was I actually taking a shit during that one? The fact that I sing a few more songs on this album may attribute to the variety in sound. The writing process remained the same but my style of singing takes some of the songs in different directions.

I believe the first album consisted of songs which had been around a while in the Jackson Firebird armoury just waiting to be unleashed; how about with Shake The Breakdown, are these freshfrom the pen encounters other than the covers of course?

The song Shake the Breakdown is actually one of the first songs we wrote together. We recorded a demo of it ages ago but it wasn’t until we got together with Frenchie that we considered giving the song a better go in the studio. It’s a song I play on the bottle bin and a permanent fixture to the JF set list so it was important to have on an album. All of the other songs are newbies.

As always the band’s humour runs wild across the release as the great sounds, particular stories which have inspired songs?

The Headache Mantra stemmed from my love of the show Monkey Magic. For those who haven’t seen it, it’s about an arrogant bad motherfucker monkey king who takes on heaven and wins. In short, the Buddha makes him follow around a ladyboy and kicks heaps of demon arse along the way. The headache mantra is the chant that makes Monkey’s head ring tighten. This made him yelp in a way not unlike what happens in the song. It’s hard to explain; watch it, 80s cheese in all its glory!

We mentioned the covers on the album. Your take on Queen’sFat Bottomed Girls was a treat but the version of the Shirley Ellis classic, The Clapping Song had the room in a riotous union, as indeed many others tracks to be fair. You did not seem to dissect and twist them about too majorly yet found a character to them which was wholly different. What was the idea behind firstly of choosing the pair and of how you approached them?

Fat Bottomed Girls was suggested by Frenchie when we had some time up our sleeves in the studio. We thought he was taking the piss but his vision was to totally under think the track. Queen made such a brilliant rock song and the lyrics are all a bit tongue in cheek so we humored Frenchie. Harvs was practically watching a YouTube tutorial on how to play the song while we were recording it. Frenchie was pummelling the Moog and jumping around like a man possessed and I was just cracking up as it went down. My biggest stress with the song was even attempting Freddie’s vocal. But I had the megaphone set up next to the drums so Frenchie asked me to lay down a guide vocal. That ended up being the vocal we used and the track was finished in half a day. I think it’s this rawness that gives our version its flavour.

The Clapping Song was a song Kmart used in their advertising for a good six months in Australia so it was hard not to hear it whenever the TV was on. It was stuck in my head on a daily basis so we jammed in it. Kmart to thank for that.

Is there any particular moment within Shake The Breakdown which has you especially smiling inside?

Mostly in Fat Bottomed Girls when Harvs was trying to nail the guitar break short solo bit. He got so pissed off that he just kind of sloppily slaps the strings randomly and Frenchie goes “perfect!” and we move on. Listening to the wrongness of that part makes me smile a bit inside.

You are already out there uncaging the album on stage? What is on the horizon live wise?

There is some pretty intensive touring on the near horizon before the end of the year, both in Australia and Europe. Not all of the dates have been confirmed yet so check out our website or Facebook for updates. We are playing a killer festival on the 3rd of Oct called Chopped Rod & Custom which is full of crazy old cars, rev heads and rock n roll. Drag racing all day can’t wait!

What is left in store for 2015 from Jackson Firebird?

Touring and more touring and playing our tits off touring and going to watch that new Star Wars movie.

Thanks again for sharing your time with us, any final thoughts you would like to leave on?

If you get a chance come and see us play we’ll have cracker of a time!

Oh and finally, there are a few great duos creating blood boiling rock ‘n’ roll right now, we mentioned a couple in our review of Shake The Breakdown. Are there any which ignite your personal flames of passion?

Yes!!!! The Fumes, The Black Keys (early days), Local H, The Mess Hall King of the North, and Royal Blood are all sick bands.

Last year saw the global release via Napalm Records of Cock Rockin’, the debut album from Australian rockers Jackson Firebird. Already stirring up eager appetites in their homeland, its riotous expanse of multi-flavoured and feistily raw rock ‘n’ roll quickly went to work on a new expanse of ears and appetites with great success. Now the duo of guitarist/vocalist Brendan Harvey and drummer/vocalist Dale Hudak unleash its successor Shake The Breakdown, another riotous explosion of blistering heavy rock that incites the instincts to have a ball.

Things get swiftly hot and heavy with opener Mohawk Bang!, the track spewing tangy grooves and firm handed rhythms from its first breath. Vocals similarly leave nothing in the locker as they shuffle with zeal on the riotous stride increasingly brewing within the rousing encounter. Southern rock with a splatter of Rage Against The Machine spicing, the track is a storming start to the release, revealing new maturity and prowess in the band’s sound without losing any of the raw tenacity and incendiary texture which gripped throughout the band’s first album.

Get Away twists and grumbles next with a dirtier air and coating to its grouchy presence. Growling somewhere between Motorhead and Nirvana, the track is a web of insatiable grooves and rapier like beats luring a just as hungry appetite from the listener before New Wave parades its heavy hard rock revelry to again anthemic effect. Its skin also has an earthy tone whilst the fingers of Harvey create blues tinged squalls of sonic enterprise to lick lips over within the adrenaline driven charge of the song.

Funk inspired grooves writhe throughout the blues spawned High Love next, its rockabilly seeded shuffle alone inescapable addiction but just as mightily matched by the searing contagion spawned by the guitar and speared by the scything rhythms of Hudak. Musically and vocally the track agreeably reminds of US duo, In The Whale, leaving slavery in its tail wind for the thick delta blues bred tempting of Sin For Your Lovin to reinforce, which it does with in fine swamp style before the first of two covers on the album teases ears. The first is a version of Queen’s Fat Bottomed Girls, Jackson Firebird turning it into a distortion soaked rock ‘n’ roll bellow which leaves a smile and potent satisfaction behind, if not the option to add it to the favourites within Shake The Breakdown.

Devil’s Door soon has ears and hips swinging next with a The Black Crowes meets Turbonegro swaggering within a sonic witchery, whilst Voodoo pushes those tones into even more eventful and resourceful endeavours through a creative maelstrom flirting with the recognisable essences of bands such as Red Hot Chili Peppers, The Black Keys, and Pearl Jam. The song equally creates its own character and essence to powerfully entice with before stepping back for the punk ‘n’ roll devilry of Headache Mantra to have its moment of glory lined with a compelling glam metal, rap metal, and noise rock lunacy.

The slow sultry shimmer and stroll of Sick ´n Tired soaks ears next but is soon providing expulsions of heavy boned riffs and commanding rhythms which free themselves from the bluesy climate from time to time. It is an incitement loaded with ‘deceit’ too, the song expressing being “sick ´n tired of playing the blues” and confirming it with Zack de la Rocha and co inspired eruptions.

The album’s second cover is its penultimate track too, Jackson Firebird just stirring up the passion with its rousing take on the Shirley Ellis classic The Clapping Song. Grooves are as virulent and addictively flavoursome as the organic anthemic instincts of the song and verse itself are overwhelming, the union ensuring there is no escaping the breathlessness grasping lungs and body by its close, not that the spidery sonic web of the album’s title track cares as it wraps the listener in a mouth-watering fuzz ball of blues temptation and rhythmic incitement which just gets more furious, tenacious, and compelling across its fiery body.

As its predecessor, Shake the Breakdown leaves a lustful want of more whilst pushing the band’s instinctive diversity of sound and heart fuelled hunger to rock ‘n’ roll to new heights. The bottom-line is that this is another encounter which demands it should be added to that must have list of 2015.

If you are looking for undiluted, no thrills, but highly addictive rock ‘n’ roll then checking out Australian rockers Jackson Firebird and their debut album Cock Rockin’ is one of those essential things to do. A heavily flavoursome and voraciously passionate, not forgetting riotous, collection of songs, the Napalm Records released brawl is one of the treats of this and 2012 with its staggered release. We had the pleasure to explore the world of Jackson Firebird with guitarist/vocalist Brendan ‘Harvs’ Harvey, talking about the beginning of the band, the album of course, tour secrets and plenty more….

Hey Harvs, welcome to the site.

Can we start with the beginnings of the band? How and when did you and Dale (Hudak) meet?

Well we first met when we were a lot younger, it’s not really hard to cross paths in a small town if you’re a musician. So we first met in a small band that was started years and years ago way before Jackson Firebird.

Was there an instant inclination to work together beyond that first link-up?

Not really, it was that early on in the piece that we hadn’t even really thought about playing in other bands, it was just the band at the present time, although towards the end of that band’s demise you could say, we were the only two rocking up to practice each time so it was just the two of us from a really early stage.

You hail from Victoria; how rewarding a place for emerging bands and in particular rock and metal breathing propositions is it?

Well if you were hailing from further down south in Melbourne you might have had more around you but living in Mildura felt so isolated from the rest of the world, it’s a bit of a strange thing to be doing, very underground. No internet in the early days, just hot metal magazines and whatever records our parents had!

Did you find any obstacles to your uncompromising honest in the face rock ‘n’ roll in those early years or it was pretty much accepted with the same eagerness as now?

Ah it’s pretty much the same as it’s always been! We just like doing what we’ve done; it’s why we started doing it. We enjoyed having a few beers and playing some rock n roll and to venture out into pubs and to play it live, and the receptions been rad so we’ve always just rolled with it!

We do have to ask the boring question, how did the band name come about; any particular meaning or inspiration for it?

We always thought we were a bit of a bogan band starting out. One of my first guitars was a Jackson Firebird and we use to think that was probably the most bogan guitar you could have so it just rolled off the tongue and ended up sticking to it like shit on a blanket!

Your debut album Cock Rockin’ has just had its worldwide release with Napalm Records. Did you have any particular expectations or hopes with its unleashing on the basis of its successful persuasion of the Australian rock fans and scene in 2012?

We were excited to get it out into Europe; it got received well in Australia. We thought it would be great to see how Europe reacted to it as they do like their Rock n Roll over there! And so far it’s been really good! We’re stoked!

It is fair to say that there is a devilry to your sound which as the album title suggests has a straightforward unbridled thirst for fun and simply rocking its rocks off. Has this form of rock always been your main inspiration growing up and on your songwriting or is there a more eclectic taste also beavering away inside?

Our sound just comes from us wanting to have fun. If its sounds like fun in the jam room and we have fun playing it, well that’s the way we’re going to put it down regardless of what people think. Um, we’ve always listened to stuff that we’ve enjoyed obviously, but I think having that fun element of playing it, if it’s fun to play- it’s never going to get boring for us. We just like rockin’ out and having a good time! As far as influences go, we grew up on a lot of metal. Your Pantera right through to the Easy Beats…The Allman Brothers, Beastie Boys…Blues Explosion- all that kinda stuff, I think subconsciously that stuff just starts to come out into your song writing without meaning to, but I think that’s a good thing having those traits come out. Could be worse- you hear a lot of shit on the radio!

What would you say are your most potent influences then?

Mine personally would be the Easy Beats, Blues Explosion, Bog Log right back to your RL Burnside ya know with the blues ‘n’ all that. I think for Dale you’d have to say Pantera and the Allman Brothers….and Elvis.

How does the songwriting process pan out between you more often than not?

Ah a lot of the time we just come up with it in a good jam. We get the riffs goin’, then try and work a melody out as ya may notice in the tracks that the lyrics are pretty complicated! Ha! But um, quite often than not Dale will come in with a melody and we’ll take it from there and build something up around it. There’s no set structure to a Jackson Firebird song, it just comes out and if it’s enjoyable playin’, that’s the way it’s gonna go down. As you may notice there’s a lot of Mother Fuckers in there- we don’t plan for that but it just fits!

The album is a fiery and raw slab of raucous adventure which sounds as if it is live inside the ears. How did you record the songs in the studio?

Recorded the tracks all live to tape. It’s a thing we wanted to try and put across- the Jackson Firebird show is what we’re all about. As far as recording goes to capture that, we tried to take all the takes, drums and guitar, live down onto the tape and then build from there. Tracks like, Rock Solid are just one take. Vocals, the whole works…as you can hear Mick Wordly, the producer say at the start of one, “When ya’ll ready….”

Did any of the tracks take on a new character in the studio environment or is what we hear on the album more or less the riots we would find in your live shows?

Ah definitely. I think the live shows are heavier and louder. Also we did the album over a long period of time, just due to time restraints and just doing it off our own back in the early days, bit by bit, some of the songs probably evolved as you can probably hear with Sweet Elouise and Quang Dang um, a bit different to ya Cock Rockin’ but all in the same vain…Just stripped back down, Rock n Roll.

Tell us about that recording process for Cock Rockin’, the time taken and adventures had.

Cock Rockin originally no titled to be held on that…we had decided in our lifetime we wanted to put an album out, and just went off our own back, found a guy that we heard was really good with tape audio, um, we got a hold of him and locked down into is his studio and basically when we had the time started the record. We did it over a 14 month period. On the weekends we’d drive over 400kms from Mildura to Adelaide and do a day or 2 in the studio. I think overall, time on the album was about 12 days! It took a lot of time to make it but we weren’t in any hurry and we weren’t stressing to push it out to try and get labels or sell it…it was all about just achieving that goal of ours to make an album. I do recall putting the first 6 tracks down on the record and after having such a long period of time to listen back (back before heading into the studio) I think the next time in there, poor Mick, we told him we were gonna scrap the lot, we recorded them all again in only one session -thinking they sounded heaps better, then went back again about a month later and of course decided to go back to the fuckin’ originals!!!

Did anything come out of the recording which you have or will explore further in the next release?

I think it’s always gonna evolve. I think we definitely learned cool shit about tape. Sound wise, maybe this time we won’t go for such a live take…might try the more conventional way of just getting the drums down and building it up from there. We always jam live in the booth so after that take- if we get it we get it and if we don’t we’ll work on it from there. T’is gonna be bigger, badder ‘n’ better!

It is around two years between the Australian and this release of the album, is the feeling the same the second time around?

Is just as exciting coz it’s a totally different territory. We got to showcase our wears in another country that we’re not familiar with at all so it was just as exciting as the first time! Having already played the tracks for years we certainly honed in on ‘em and changed a few things here just to put a live spin on them and put on a better show.

Were you tempted to also tweak anything for this unleashing or had you already moved on to concentrating on your next endeavour in the period between releases?

I think once you record a record it pretty much captures that place you’re in at that time, I think to go back and tweak anything is a bit of a dick think to do. So we just left as is. That’s Jackson Firebird in that time, that’s how we sounded. We are certainly well underway into our second album and its sounding pretty huge so we’re looking forward to getting it out!!!

You have just finished a European tour, how did that go?

Tour was nuts! It’s still so fresh since coming back. Hopefully the memories will start coming back soon! But ah putting 19 shows down in 20 days was something we hadn’t really expected to do in the early days but it was damn good fun and we got to see 7 different countries! Crowd response was awesome, sold a lot of merch and yeah we had a killer time on stage and good parties with the other bands!

And any interesting stories to tell?

I think the beauty about being on the road, you never know what to expect…one night we stayed in the same room as ‘Horizont’ some kick ass rockers from Sweden and can remember the bass player vomiting on the ground next to the guitarist as he passed out, then supposedly the guitarist woke up in the middle of the night to the bass player pissing on his face!! Ha-ha always gonna remember that kinda shit and I’m just glad it wasn’t us hey!!!

What comes next for the band and for us from you?

Next for the band…we got a few weeks home them we’re off to Brazil to play some rad festivals over there, or down there, or wherever the hell it is! We’re certainly looking forward to getting another album out. We’re in the middle of recording that- we’ve recorded half of it in Austin, Texas and we’ve done quite a lot of demo work to finish the album off so really looking forward to getting stuck into that and getting a release date out…would be nice to get it out by the end of the year and then get our asses back to Europe!!!

With no demands and intentions other than to rock its balls from start to finish, Cock Rockin’ the debut album from Australian rockers Jackson Firebird, is one of those slabs of straight forward honest rock ‘n’ roll which you always have a hunger for before realising. Consisting of ten passion rifling slices of blues bred rock, the album is a riotous party come brawl with something for every type of rock fan. It is a flavoursome morsel for anybody with a taste of the Kings Of Leon to The Black Keys, Led Zeppelin to Eagles Of Death Metal, Seasick Steve to Rage Against The Machine. The Victoria hailing band and their album has already seduced the homeland and now with its worldwide release via Napalm Records, Jackson Firebird is about to enflame the rest of us.

The band consists of guitarist/vocalist Brendan Harvey and drummer/vocalist Dale Hudak; the two meeting when Harvey and the band he was in, was in Adelaide to record some demos minus their drummer. The band ended up calling up Hudak who learned the songs in the car on the way to the studio. The pair continued to play together, jamming out the back of a family owned bakery. It was 2006 though when Jackson Firebird was officially born, new songs and gigs soon thrusting the band’s sound and increasing reputation across local venues, Adelaide, and subsequently the east coast. The duo went on to share stages with the likes of You Am I, King Cannons, the Snowdroppers, Little Birdy, and the Fumes before settling down to record their first release, a five-track EP. Jump forward and as mentioned earlier Cock Rockin’ has already been uncaged and recruited the fullest acclaim and new passions down under with its release in 2012, and now is the time for the rest of us to stomp with its insatiable bait.

The two pronged stripped down attack immediately hits the spot and appetite with the opening title track, its raw energy and full-on mischievous passion of the song reminds of another duo, The Black Frame Spectacle from Canada, though sound wise they are more rockabilly seeded. The song rampages with riffs and rhythms flailing in the hungry energy, from the very first second never relinquishing its feverish persuasion until the last heated note, even in the incendiary slow blues prowl midway. The vocals are as vibrant and slightly grizzled as the sound, a nice causticity stalking their surface fitting in perfectly with the fire bred hues of blues guitar in solo and rampant riffery.

The impressive start is potently backed by both She Said and Rock Solid, the first moving in on a virulent roll of drum enticement soon smothered in the acidic flames of guitar, that blues twang again enticing appetite and emotions over the unrelenting rhythmic incitement. As in all the songs simplicity rides the passions as eagerly as the more involved craft of Harvey’s solos; that repetitive bait especially tempting across the second song as it leads into its greedily agreeable climax. Its successor opens on a recognisable groove, and it is fair to say that there is plenty on Cock Rockin’ that is familiar as well as original but nothing comes in any shade other than that unique to Jackson Firebird. The track simmers and strolls with melodic lips kissing the senses and a sonic fingering stroking all the naughty bits of satisfaction, their potency matched by the almost Graham Parker like vocals and a constant southern bred entanglement.

Quan Dang forces it’s might through the ears next, an instant RATM inspired attack breeding vocals and the opening groove before entwining itself with a bolder hard/glam rock swagger. It is, like so many on the album, an irresistible encounter which has feet and voice willing cohorts to its infectious revelry, just as the following Red Light and the irrepressible Little Missy. The first of this pair restrains its intensity a little more than others though darkens its shadows for a thicker encounter with choppy riffs and meandering melodic scorches. There is certain sultriness to the song too, a salacious element matching the title as it raises the temperature before the second song opens up a sinewed temptation of rock ‘n’ roll bruising which is as much Chuck Berry like as it is Black Crowes suggesting.

Can Roll bares its swagger and heart next, rhythms a magnetic incitement welcoming in imagination and the rich sonic enterprise of Harvey, both he and Hudak laying out anthemic bait which takes no prisoners or accepts no for an answer. Its virulence is not quite matched by Goin Out West, at first at least, it’s opening country rock walk with a bluesy climate a simple engagement initially but something which suddenly explodes into an unbridled stomp of forcibly kicking beats and entrancing sonic tendrils of suasion. The track brews its toxin along the way so by its departure thoughts and passions are infected for a long term ardour.

The album finishes with an equally potent flourish, Sweet Eloise a song soaked in blues venom and rhythmic enslavement whilst offering another Zack de la Rocha like vocal tempting, and the raw Red Hair Honey which simply sears and ignites ears and passions like a wanton temptress. It is a scintillating end to a wholly thrilling introduction to one of Australia’s previously best kept secrets. That secrecy is no longer now as Jackson Firebird struts across the globe with, as their album says, its Cock Rockin’.

The RingMaster Review

The RingMaster

Music writer/reviewer and band/release promo/bio writer.
Artists previously worked with include: In Vain, The Capsules, Solar Halos, Seneron, Crashgate, Able Archer, Machine Rox, Fahran, Centre Excuse, Evanstar, and many more as well as FRUK and Pluggin' Baby.

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